Chinese born British pianist Mengyang Pan began her piano studies in China, eventually becoming a junior student at the Central Conservatory of Music Beijing. Having been offered a full scholarship, she accepted an invitation to study at the Purcell School in the UK with Tessa Nicholson before completing her musical education at the Royal College of Music with Vanessa Latarche.A brilliantly decorated star, Mengyang is the prize winner of many prestigious competitions including Rina Sala Gallo International Piano competition, Bromsgrove International Young Musician’s Platform, Dudley International Piano Competition, Norah Sands Award, MBF Educational Award, Chappell Gold Medal, Brent International Piano Competition and Ettlingen International Piano Competition. Famed for her graceful charm and wonderful communicative stage presence, Mengyang performs repeatedly in some of the best venues throughout the UK such as the Royal Festival Hall, Wigmore Hall, Cadogan Hall, Bridgewater Hall, Birmingham Symphony Hall, St. John’s Smith Square and Royal Albert Hall amongst many others.As an engaging and inspiring collaborator, Mengyang has appeared with many orchestras and her collaboration with conductors such as Maestro Vladimir Ashkenazy, John Wilson and Mikk Murdvee has gained the highest acclaim nationwide. She was presented with the Tagore Gold Medal by HRH Prince Charles in 2007 for outstanding representation of the Royal College of Music, the highest honour possible. In 2011, she was presented to HM Queen Elizabeth II and Duke of Edinburgh at Buckingham Palace for her contribution to the British music and art industry. Apart from performing, Mengyang is also passionate about teaching. She is currently a professor of piano at Royal College of Music, Imperial College Blyth Centre for Music and Visual Arts and St Paul’s School for boys. She also gives regular masterclasses at schools including the Purcell School, Imperial College, St Paul’s School and her native China, events which are greeted with considerable critical acclaim.
It was in 2012 that I first heard Mengyang Pan play in Monza.She gave an impeccable performance of the Emperor Concerto that still remains in my memory for its musicianship and technical command allied to an aristocratic passion and sense of style.It is she and Julien Brocal that stand out in my memory for the outstanding performances they gave in that circus arena.She certainly got my vote and I was sure that with an artist of such similar virtues such as Bruno Canino, the president of the jury, she must have got his too.She did infact win a top prize and has gone on to confirm those virtues that were so evident 8 years ago.
Always playing with impeccable preparation and a technical command that she aquired from the school of Tessa Nicholson.At the Purcell school she was in her class that has produced Mark Viner,Tyler Hay,Alim Beisembayev and many others.
All different but with virtuoso techniques at the service of the music.
Votre âme est un paysage choisi
Que vont charmant masques et bergamasques
Jouant du luth et dansant et quasi
Tristes sous leurs déguisements fantasques.
Your soul is a chosen landscape
Where charming masquerades and dancers are promenading,
Playing the lute and dancing, and almost
Sad beneath their fantastic disguises.
Precision,temperament and sheer enjoyment were the hallmarks of her performance of Moszkowski’s old warhorse ” Caprice Espagnol”.It was thrown off with the ease that the great virtuosi of their day used to relish at the end of their programmes.Technically impeccable as was her complete understanding of this world of Spanish dance and pure’ joie de vivre.’
An encore of the Paraphrase by Liszt of Verdi’s Rigoletto brought even finer playing as she seduced and ravished us with her great belcanto sound and scintillating arpeggio embellishments .The delicate repeated octaves were played with such a refined sense of style and musical understanding almost like the vibrated notes of the ‘bebung’ on the early pianos.Her passionate involvement and total fearlessness brought just that element of showmanship that is so much part of these pieces when Liszt used to wow his aristocratic audiences with devastating effect.